Podcasts about Juilliard String Quartet

Su longevidad, que abarca más de un siglo, le permite recorrer un inmenso arco de escuelas, estéticas y estilos. Su catálogo reúne centenares de obras, incluidos grandes cuartetos de cuerda, varios conciertos y una única ópera, que escribe con 90 años._____Has escuchadoCaprices. Lauds II. Riconoscenza per Goffredo Petrassi (1984). Irvine Arditti, violín. Alpha (2017)Figment I: For Solo Violoncello (1994). Thomas Demenga, violonchelo. ECM (2003)String Quartet No. 5. V. Adagio Sereno (1995). Juilliard String Quartet. RCA (2014)Symphony of Three Orchestras (1976). New York Philharmonic; Pierre Boulez, director. Columbia Masterworks (1995)_____Selección bibliográficaBERNARD, Jonathan, “The Evolution of Elliott Carter's Rhythmic Practice”. Perspectives of New Music, vol. 26, n.º 2 (1988), pp. 164-203*—, “An Interview with Elliott Carter”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 180-214*BOLAND, Marguerite y John Link (eds.), Elliott Carter Studies. Cambridge University Press, 2017BORETZ, Benjamin, “Conversations with Elliott Carter “. Perspectives of New Music, vol. 8, n.º 2 (1970), pp. 1-22*CARTER, Elliott, Collected Essays and Lectures, 1937-1995. Editado por Jonathan W. Bernard. University of Rochester Press, 1997—, Harmony Book. Editado por Nicholas Hopkins y John Link. Carl Fischer, 2002EMMERY, Laura, Compositional Process in Elliott Carter's String Quartets: A Study in Sketches. Routledge, 1989HARVEY, David I. H., The Later Music of Elliott Carter: A Study in Music Theory and Analysis. Garland, 1989LINK, John F., Elliott Carter: A Guide to Research. Garland, 2000—, Elliott Carter's Late Music. Cambridge University Press, 2024MARTÍN, Fernando, “Tiempo, narratividad, organicismo y uso de conjuntos en el último estilo de Elliott Carter”. Quodlibet: Revista de Especialización Musical, n.º 37 (2007), pp. 66-83*MEYER, Felix y Anne SHREFFLER, Elliott Carter. A Centennial Portrait in Letters and Documents. The Boydell Press, 2008SCHIFF, David, The Music of Elliott Carter. Faber and Faber, 1998WIERZBICKI, James, Elliott Carter. University of Illinois Press, 2011 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

“I felt as empty as a drum,” says Molly Carr, a Juilliard-trained, world class violist. It was a career she had worked her whole young life for. She travelled the world and performed on some of music's most iconic stages. From Carnegie Hall to the Kennedy Center, Molly has shared the stage with some of the world's greatest musicians and yet, “the  constant focus on career and the fear that it could all go away,” sucked the joy from the instrument and the music that she had loved since she was a little girl. When a shattered glass bowl made it impossible for her to play, she found herself searching for a way to make meaning of her life.  A chance experience with a late stage Alzheimer's patient changed all that and opened her up to a new way of using the gifts she had been given.As she sat at the bedside of Ruth, the late stage Alzheimer's patient, she promised her that if she could ever play her instrument again, she would return with some of her friends to play for her. Six months later she made good on that promise, and Project: Music Heals Us was born. From  prisons to hospitals and refugee camps, Project: Music Heals Us brings the healing power of music to some of the darkest places in our world.Under the direction of Dana Martin, Project Manager for the Music for the Future Program, PMHS recently completed a seven week program with the Sonoma County Jail in Santa Rosa, CA.  participants earned certificates and school credit for their participation as part of a new pilot project with the Juilliard School in New York City, NY.Dana Martin, Project Manager, Music for the Future, Prison Programs, PMHUMolly Carr is the founder and artistic director of Project: Music Heals Us. A world renowned viola player, she is on the faculty of the Juilliard School and performs as a member of the Juilliard String Quartet and the Carr-Petrova Duo.Dana Martin is the Program Manager for Music for the Future; a music composition course presented by Project: Music Heals Us. Dana is an actor, multidisciplinary artist, educator and theater critic based in Los Angeles, CA.You can learn more about Project: Music Heals Us here.To learn more about Robert Maggio, the composer of "Where Love is Love," our theme music, please check out his website.To learn more about Suzanne, visit her website. To learn more about the inspiration for this podcast, please check out Suzanne's memoir, Estrellas - Moments of Illumination Along El Camino de SantiagoFollow Suzanne on Social Media Instagram @suzannemaggio_author Facebook @ Suzanne Maggio author Twitter @ bottomofninth

Já estava demorando para falarmos de Yorgos Lanthimos. Desculpem o atraso e um muito obrigado a nossa ouvinte @juliabiscegli, que felizmente nos recomendou esse brilhante diretor. Seus filmes apresentam ao espectador universos à parte, construídos com base em regras e comportamentos semelhantes aos do mundo real, porém ligeiramente distintos, estranhos, bizarros. O Lagosta nos oferece dois mundos: o Hotel e a Floresta, cada um com suas normas de conduta específicas, ambas igualmente estritas e autoritárias. O filme talvez seja um dos mais satíricos de sua curta filmografia. Para os apreciadores de humor negro, não há melhor pedida. A película, inclusive, está entre as 10 melhores sátiras de todos os tempos, escolhidas pelo canal Cinefix, o qual recomendamos a todos que adoram a sétima arte. Confira o link para o vídeo na Bio do nosso perfil no Instagram. Não deixe de acompanhar, portanto, a nossa discussão sobre a relação entre estado civil e status social; as convenções rígidas e muitas vezes absurdas que regem as relações amorosas; a Lei da Selva e a Selva da Lei; e sobre qual animal você gostaria de ser. Pensando especialmente naqueles que escutam o episódio até o fim, vai ter uma surpresinha no Instagram na semana que vem. Não percam! Quer fazer um comentário, uma crítica ou uma sugestão? Envie um email a saladeprojecaopodcast@gmail.com ou mande mensagem em nossas redes sociais e responderemos em breve. Ficha do Filme: O Lagosta (The Lobster), 2015. Direção: Yorgos Lanthimos. Roteiro: Yorgos Lanthimos e Efthimis Filippou. Elenco: Colin Farrell, Rachel Weisz, Olivia Colman, John C. Reilly, Léa Seydoux, Ben Whishaw, Jessica Barden, Ariane Labed, Angeliki Papoulia, Ashley Jensen, Michael Smiley. 118 min. Grécia, Irlanda. Créditos: Ilustração: Felipe Sobreiro – sobreiro.com Edição e Identidade Visual: Thiago Vergara - thiagoverg@gmail.com Música de Introdução: https://www.bensound.com Músicas do filme 3 Pieces for String Quartet No 3 - Goldner String Quartet Ti Ein Afto Pou To Lene Agapi - Sophia Loren - Tonis Maroudas Where the Wild Roses Grow - Nick Cave and the Bad Seeds & Kylie Minogue String Quartet No 2 I Moderato - The Tale Quartet String Quartet no 1 in D major op 25 Andante Sostenuto - Takacs Quartet String Quartet No 1 in F Major Op 18-1 II Adagio affettuoso ed appassionato - Juilliard String Quartet by Ludwig van Beethoven Quintet for Piano and Strings In tempo di valse - Borodin Quartet Apo Mesa Pethamenos - Danai Música de crédito ao editor Ne Me Quitte Pas - Jacques Brel

Synopsis On today's date in 1935, at the Church of Saint François-Xavier in Paris, organist Geneviève de la Salle gave the first complete performance of the three-movement Suite, Op. 5, by the French composer, teacher, and virtuoso organist Maurice Duruflé. If you sing in a choir or are a fan of choral music, you're probably familiar with Duruflé's serene and tranquil “Requiem,” Op. 9, which premiered some 12 years later. Duruflé's Op. 5 premiered in 1935, his Op. 9 in 1947, so you might reasonably conclude the composer was a slow worker – which he was.  He was also a very self-critical perfectionist whose catalog of works is rather small, but exquisitely crafted.  In all, Duruflé's output comprises less than 15 published works, of which seven are for organ. Duruflé's music is firmly embedded in the French tradition of organ composers like César Franck and Louis Vierne, and orchestral composers like Debussy, Ravel, and Duruflé's own composition teacher, Paul Dukas.  The great French organist Marie-Claire Alain, when asked to describe Duruflé's music, replied "it is a perfectly honest art… He was not an innovator but a traditionalist… Duruflé evolved and amplified the old traditions, making them his own."  Music Played in Today's Program Maurice Durufle (1902-1986) — Organ Suite, Op. 5 (Todd Wilson, o (Schudi organ at St. Thomas Aquinas Church in Dallas, Texas)) Delos 3047 On This Day Births 1752 - Italian composer Muzio Clementi, in Rome; 1878 - English composer Rutland Boughton, in Aylesbury; Deaths 1837 - Irish composer John Field, age 54, in Moscow (Julian date: Jan.11); 1908 - American composer and pianist Edward MacDowell, age 47, in New York; 1981 - American composer Samuel Barber, age 70, in New York; Premieres 1724 - Bach: Sacred Cantata No. 73 ("Herr, wie du willst, so schicks mit mir") performed on the 3rd Sunday after Epiphany as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1729 - Bach: Sacred Cantata No. 156 ("Ich steh mit einem Fuss im Grabe") probably performed in Leipzig on the 3rd Sunday after Epiphany as part of Bach's fourth annual Sacred Cantata cycle (to texts by Christian Friedrich Henrici, a.k.a. "Picander") during 1728/29; 1895 - MacDowell: Suite No. 2 (":Indian"), at the old Metropolitan Opera House in New York City, by the Boston Symphony, with Emil Paur conducting; On the same program, MacDowell appeared as the soloist in his own Piano Concerto No. 1; 1933 - Bartók: Piano Concerto No. 2, in Frankfurt, with Hans Robaud conducting and the composer as soloist; 1936 - Chavez: "Sinfonia India," on a radio broadcast by the Columbia Symphony, conducted by the composer; 1948 - Diamond: Symphony No. 4, by the Boston Symphony, Leonard Bernstein conducting; 1963 - Peter Mennin: Symphony No. 7, by the Cleveland Orchestra, George Szell conducting; 1973 - Elliott Carter: String Quartet No. 3, in New York City, by the Juilliard String Quartet; This work won the Pulitzer Prize for music in that year (This was Carter's second Pulitzer Prize); 1999 - Thea Musgrave: "Three Women," in San Francisco, by the Women's Philharmonic, A. Hsu conducting; Others 1894 - Czech composer Antonin Dvorák presents a concert of African-American choral music at Madison Square Concert Hall in New York, using an all-black choir, comprised chiefly of members of the St. Philip's Colored Choir; On the program was the premiere performance of Dvorák's own arrangement of Stephen Foster's "Old Folks at Home," which featured vocal soloists Sissierette Jones and Harry T. Burleigh; 1943 - Duke Ellington and his orchestra present their first concert at Carngie Hall in New York, presenting the "official" premiere of Ellington's "Black, Brown and Beige" Suite (This work had received its world premiere at a trial performance the preceding day at Rye High School in Rye, New York). Links and Resources On Dvořák On Ellington

Gilda Joffe, teacher, musician, and coach, joins us for episode 192 of the Relate podcast. We discuss Gilda's work as a coach and how she helps her clients overcome the fear and stress that is so prevalent in our society today. We discuss the downsides of competition, the importance of creating our own opportunities, and why we must allow ourselves to be creative. We also discuss the ideas behind her upcoming book, Dancing With Your Muse. To learn more about the amazing work Gilda is doing, please visit https://www.performermindset.com/ or visit her on LinkedIn at https://www.linkedin.com/in/gildajoffe/ Gilda has been teaching and coaching for more than 25 years and profoundly understands the emotional difficulties and fears which female executives and performers, in any scenario, experience. She has worked with hundreds of people who wish to improve and develop their business potential and confidence. As a public speaker, consultant, and business trainer with a dance, vocal, and music background, Gilda is well equipped to understand the emotional dilemmas that people face under situations of fear and stress. Gilda Joffe received her B.M. and M.M. degrees from the Juilliard School of Music in New York where her principal teachers included Joseph Fuchs as well as Joel Krosnick and Robert Mann of The Juilliard String Quartet. --- Send in a voice message: https://anchor.fm/relate-patrick-mcandrew/message Support this podcast: https://anchor.fm/relate-patrick-mcandrew/support

J'ai eu le très grand plaisir d'interview la pianiste Aline Piboule a l'occasion de la parution de son dernier disque paru pour le label « Printemps des Arts de Monte Carlo ». Ce disque est consacré à des oeuvres de Gustave Samazeuilh, Pierre-Octave Ferroud, Abel Decaux et Louis Aubert. Cet enregistrement n'est pas seulement une très belle découverte au niveau musicologique mais également la présentation d'oeuvres tout simplement magnifiques à écouter, d'un abord et d'un plaisir immédiat.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir d'interview le claveciniste et organiste Benjamin Alard au sujet du Quatrième volume de son intégrale de l'oeuvre complète de Jean-Sébastien Bach pour clavier, paru pour le label Harmonia Mundi. Benjamin Alard évoque cet immense projet qui le mènera à enregistrer 17 volumes de l'oeuvre intégrale de Jean-Sébastien Bach à la fois pour orgue, clavecin et clavicorde. Il évoque ce Quatrième volume consacré pour une large part à des transcriptions de Concerto de Vivaldi et de Marcello, et également à des oeuvres essentielles pour orgue, et notamment l'immense Toccata en Do majeur BWV 564.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

durée : 01:57:33 - En pistes ! du lundi 26 avril 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Beethoven ce matin avec les Bagatelles pour piano par Vladimir Feltsman et le quatuor opus 59 par le Juilliard String Quartet, une intégrale consacrée à l’exploration du Fitzwilliam Virginal Book, l'Italie au tournant du XVIIIème siècle avec des sonates interprétées par l'ensemble La Serenissima. - réalisé par : Benjamin Morando

J'ai eu le très grand plaisir de recevoir Anne-Lise Gastaldi, pianiste du Trio George Sand, pour évoquer la parution d'un disque intitulé « Mahler intime ». Le Trio interprète aux côtés de l'altiste Violaine Despeyroux et de la chanteuse Jennifer Tani des oeuvres de Mahler transcrites pour une formation chambriste. Ce disque est accompagné d'un livret qui évoque notamment la rencontre de Gustav Mahler et de la violoniste et altiste Nathalie Bauer-Lechner, cette rencontre et leur amitié. - Label Elstir   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir de recevoir Louis Rodde, violoncelliste du Trio Karénine. Il évoque à mon micro le dernier disque du Trio paru pour le label Mirare : un disque consacré à Liszt avec une transcription pour trio de sa « Vallée d'Obermann » (Années de Pèlerinage-Suisse), à Robert Schumann avec une transcription pour trio de Theodor Kirchner des Six Pièces en forme de canon op.56 et enfin avec une version pour trio de La Nuit transfigurée de Schoenberg, une transcription de son élève Eduard Steuermann. Louis Rodde évoque bien sûr le travail du trio Karénine mais également l'art de la transcription.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le plaisir de recevoir Jean-Yves Clément pour évoquer son dernier livre, Le Retour de Majorque, Journal imaginaire de Frédéric Chopin, dans lequel l'écrivain s'est mis dans les pas du compositeur. Jean-Yves Clément au cours de cet entretien évoque sa passion pour Chopin mais également son amour pour la musique de Franz Liszt.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu l'immense plaisir d'interviewer la violoniste Liya Petrova qui vient de faire paraître pour le label Mirare un disque consacré à deux concertos en ré majeur, le célébrissime Concerto pour violon de Beethoven dont elle livre une interprétation magistrale aux côtés du Sinfonia Orchestra sous la direction de Jean-Jacques Kantorow. Ainsi que le Concerto n° 7 de Mozart, que Liya Petrova interprète de manière également merveilleuse, aux côtés du Sinfonia Orchestra, placé sous la direction également de Jean-Jacques Kantorow.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir d'interviewer la pianiste Célimène Daudet à propos de son dernier disque « Haïti mon amour » paru chez NoMadMusic où elle interprète des oeuvres de compositeurs haïtiens de la première moitié du XXème siècle : Ludovic Lamothe, Justin Elie et Edmond Saintonge. Célimène Daudet évoque sa découverte de ces musiques, la manière dont elle fait revivre ces partitions. Un itinéraire inédit et passionnant.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir d'interviewer Myriam Rignol, gambiste de l'Ensemble Les Timbres qu'elle forme aux côtés de Yoko Kawakubo, violoniste, et Julien Wolfs, claveciniste. Ils viennent de faire paraître un très beau disque consacré aux Sonates opus 1 et 2 de Buxtehude. Myriam Rignol évoque à mon micro ces sonates, leur vivacité, leurs couleurs; tout le contraire du portrait austère qui constitue le cliché généralement attaché à Buxtehude.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir d'interviewer Bernard Fournier, grand spécialiste du Quatuor à cordes qui vient de faire paraitre aux Editions Buchet-Chastel un livre passionnant consacré aux Quatuors de Beethoven. Il évoque sa passion pour ce cycle essentiel et parle de ces Quatuors avec vigueur, amour et pédagogie.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir d'interviewer la gambiste Florence Bolton, une des deux âmes de l'ensemble La Rêveuse aux cotés de Benjamin Perrot, elle évoque le dernier disque qui vient de paraître de cet ensemble. Un disque consacré à Londres et l'héritage italien en 1720, paru pour le label Harmonia Mundi. Comme pour chacun des projets de l'ensemble, Florence Bolton avait un travail de profondeur sur les sources, sur l'environnement politique et sociologique de l'époque de création de ces oeuvres.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir d'interviewer le baryton Victor Sicard qui, aux côtés la pianiste Anna Cardona, vient de faire paraitre pour le label La Musica une quasi intégrale des Mélodies pour voix d'homme et piano de Maurice Ravel. Il évoque ces mélodies, la manière dont il est demandé aux chanteurs de les interpréter et parle de son amour de la mélodie française.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'avais eu la chance d'interviewer en décembre 2015 Ivry Gitlis qui vient de nous quitter. Le musicien évoque des pans qui ne sont pas toujours très connus, comme son enfance en Palestine mandataire avant la création de l'Etat d'Israël, et son itinéraire avant de devenir l'un des violonistes les plus populaires du XXè siècle.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir d'interviewer Noémie Bialobroda, membre du Quatuor Aviv, composé de Sergey Ostrovsky et Philippe Villanfranca au violon, de Noémie Bialobroda à l'alto et de Daniel Mitnitsky au violoncelle. Ils viennent de faire paraitre pour le label Naxos un disque consacré à Schubert, son trio et son quintette à cordes aux côtés de Amit Peled au violoncelle. Noémie Bialobroda parle quatuor, enseignement et filiation dans la musique de chambre. -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très grand plaisir de recevoir Sarah et Gabriel Tchalik, membres du du Quatuor Tchalik, Gabriel violoniste et Sarah altiste. Ils évoquent un disque consacré à Reynaldo Hahn qui vient de paraître pour le label Alkonost, disque composé de deux quatuors de Reynaldo Hahn, du quintette pour piano et cordes et de plusieurs oeuvres pour violon et piano et pour violoncelle et piano. Ils parlent de la personnalité, de la musique de Reynaldo Hahn et de leur travail de quartettiste.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Frédéric Hutman a eu le plaisir de rencontrer le clarinettiste Patrick Messina qui évoque son dernier disque enregistré aux côtés du pianiste Fabrizio Chiovetta, « Songs » des oeuvres de Barber, Bernstein, Copland, Foster, Gershwin, Ives et Previn. Patrick Messina évoque son compagnonnage avec ces oeuvres, son amour de cette musique et de manière générale la manière dont il s'est glissé dans cette interprétation.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Frédéric Hutman a eu le très grand plaisir d'interviewer la violoncelliste Astrig Siranossian qui évoque son dernier disque « Dear Mademoiselle » consacré à la figure de Nadia Boulanger et à six de ses élèves : Astor Piazzolla, Igor Stravinsky, Elliott Carter, Michel Legrand, Philip Glass et Quincy Jones. Elle interprète des œuvres de ces compositeurs ainsi que 3 pièces pour violoncelle et piano de Nadia Boulanger aux cotés de Daniel Barenboim. Pour les autres oeuvres, Astrig Siranossian est aux côtés du pianiste Nathanaël Gouin. -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Le jeune trio Aralia est composé d'Ida Derbesse au violon, Magali Mouterde au violoncelle et Théodore Lambert au piano, j'ai eu le plaisir d'interviewer ce dernier. Il évoque à ce micro l'itinéraire de ce trio, ses passions musicales et le choix du répertoire.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

La pianiste Colette Zerah vient de nous quitter j'avais eu la chance de l'interviewer en janvier 2017, c'était une magnifique pianiste, une pédagogue infiniment respectée et elle avait été l'élève de Lazare Lévy, ce grand pianiste et pédagogue, mais également d'Eduard Steuermann, grande figure de la musique du 20ème siècle. Colette Zerah « accessoirement » avait été également l'épouse du compositeur Pierre Jansen connu pour ses multiples musiques de film et notamment sa coloration avec Claude Chabrol. Un entretien pour moi particulièrement émouvant.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

J'ai eu le très vif plaisir d'interviewer le pianiste Philippe Cassard qui évoque sa très récente actualité notamment ses deux derniers disques parus pour le label La Dolce Volta consacré à la 9ème Symphonie de Beethoven transcrite par Franz Liszt pour deux pianos, aux côtés du pianiste Cedric Pescia. Mais également au trio « Les Esprits » et « A l'Archiduc » de Beethoven, où il est aux côtés de Anne Gastinel et David Grimal. Philippe Cassard évoque ses amours musicales, j'espère que le plaisir que j'ai eu à réaliser cet entretien sera partagé.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

We’re championing a new generation of younger artists who were also looking at ways to make this art form relevant, contemporary, and even more equitable” Author - Melanie SmithIn this episode, our featured voice is Melanie Smith, President of San Francisco Performances. San Francisco Performances is an innovative curator of established classical music, jazz, and dance artists as well as a leading supporter of the next generation of performance artists with a commitment to equity for all. Their artist’s residencies provide opportunities for public school students who encounter music and dance for the very first time—to engage personally with artists and gain a deeper understanding of their work.The Covid-19 pandemic has led to a very big economic impact on performance organizations and the performing art community with an estimated 50% unemployment rate for performance artists on a national level. The financial impact will continue since the gathering of people in theaters will be one of the last business sectors to re-open in the San Francisco Bay Area.  To Melanie and John’s point performing art organizations are being forced to develop new models of live streaming of shows and when small socially distanced audiences can come back into the theater the creation of hybrid performances of both on-line and in person could become the new theater experience. To find out more about how you support San Francisco Performances 41st season go to sf performances dot org.

J'ai eu le plaisir d'interviewer le pianiste Nathanaël Gouin, il évoque ses deux derniers disques parus pour le label Mirare, "Bizet sans paroles", des oeuvres pour piano seul de Georges Bizet, ainsi que "Trios de jeunesse" : deux trios Opus 1 de Beethoven et le trio Opus 1 de Korngold qu'il interprète pour le même label aux côtés du violoniste Guillaume Chilemme et du violoncelliste Yan Levionnois. Nathanaël Gouin parle également de son actualité de concertiste et notamment d'un concert qui sera donné le 2 décembre prochain au Musée d'Art et d'Histoire du Judaïsme en hommage au pianiste François Lang.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

 So this is it, ladies and gents, the episode where we discuss the piece for which this podcast was named and the composer that wrote it: William Schuman and his Symphony No. 10 ‘American Muse'! The man literally got letters in the mail telling him either how awful his music was, OR how it had changed someone's life. Were he still alive today, I would absolutely send him a physical letter thanking him for so dramatically effecting my life. Ironically, I did in fact send his two children, Andrea and Anthony, physical letters to ask for their permission to use the music you just heard at the beginning of this podcast! Anyway, let's talk about this man and his fantastic compositions.###Background- I first heard music by William Schuman when I was an eager young musician in middle school. I listened to his Symphony No. 5, performed by Leonard Bernstein and the New York Philharmonic string section, recorded on a vinyl record (I kid you not). The opening bars explode with energy and melodic creativity unlike I had ever heard. It was forceful, bold, full of life. It drew me in and to this day has not let go. From that moment I knew I had to know more about this man and his music. He and his music are a large part of the reason I began this podcast, my blog, and my book to be released next year, _Secrets of American Orchestral Music_.####Bio- One of the first things one learns about Schuman is the story of how he came to be a composer in the first place. He did play bass in a dance band, but never considered it very serious. Then he went to a concert at Carnegie Hall and heard the New York Philharmonic, conducted by the great Arturo Toscanini. He was so blown away by the performance he said "I was overwhelmed. I had never heard anything like it. The very next day, I decided to become a composer." So, he dropped out of New York University, quit his job, enrolled at the Malkin Conservatory of music to study composition, and a short 5 years later he graduated from Columbia University. Who knew it could be so easy? While this anecdotal story is humorous, it accurately shows a key characteristic of Schuman's personality. He is an optimist, endlessly curious, and has a child-like approach to new endeavors. He is also steadfast and resolute in his values, many times refusing to compromise his artistic work or arts administration efforts. - Though not all of William Schuman's biographical history is pertinent here, some key positions and career events as well as insight into his composition process help to contextualize the unique nature of the man and his music. One fortuitous happenstance came at the beginning of his journey to become a composer. In 1930, primed by having just attended his first orchestral concert, Schuman saw a sign for the Malkin Conservatory, walked in, and according to him “registered for a course in harmony because he had heard somewhere that composers begin by studying harmony.” This placed him with Max Persin, a teacher more interested in discovering the intricacies of each individual piece rather than regurgitating from quote “a textbook of dull orthodoxy.” Not long after earning a teaching degree from the Columbia University Teachers College, Schuman carved out a teaching and administrative position at Sarah Lawrence College. The way in which this came about is characteristic of Schuman's free-form thinking and commitment to the highest quality in any endeavor he undertook. Schuman convinced the president and Faculty Advisory Committee on Appointments at Sarah Lawrence to make him the quote "one man... coordinator, working from a single focal point" on a new set of freshman focused courses. Schuman connected with the faculty and administration at Sarah Lawrence on a philosophical level, influenced by the progressive education movement of John Dewey and the concept that "making knowledge one's own was the central goal of education…” This desire for individuality and freedom from convention carried over into Schuman's composing. Keenly aware of contemporary trends, Schuman casts the "emergence of a contemporary tonal language" in the twentieth century as "a musical revolution." Referring to contemporary composers (presumably including himself), Schuman posits “[t]he process of seeking a way of creating fresh sounds is a natural one for a truly creative musician. It may be conscious or subconscious, or both. But whatever the process, the result is innovation in musical speech." Even Copland recognized the boldness of Schuman's work, describing it as "music of tension and power," and expounding on his rhythmic writing as "so skittish and personal, so utterly free and inventive."- Schuman's commitment to his own musical and educational standards resulted in his being tapped as president of Juilliard in 1945. Schuman was reluctant to even consider the post because, as Steve Swayne puts it in his biographic work _Orpheus in Manhattan_, “[h]e could see no possible marriage between Juilliard's hidebound, rote education and the progressive, student-oriented approach that he enjoyed at Sarah Lawrence." Partly due to this honesty expressed to Juilliard's board of directors, Schuman was offered and eventually accepted the position. As a sign of the school's desire for change, Schuman immediately made drastic alterations to the Juilliard curriculum and faculty. One program he spearheaded is particularly of note here. Showing his independent thinking and will to move forward, Schuman explains his educational philosophy:> The first requisite for a musician in any branch of the art is that he be a virtuoso listener. It has been a student who is adept at the writing of melodic dictation may be incapable of listening to a symphonic composition with an understanding of its design. In other words, an ability to hear the component parts of the language of music… does not ipso facto mean integrated understanding--an understanding that can only be achieved when the whole work is clearly viewed as the sum of these parts... In an effort to replace conventional theory with more meaningful studies, the Juilliard School has discontinued its Theory Department and added to its curriculum a new department--Literature and Materials of Music.- This is the kind of ideology Schuman applied to his composition and administrative roles. In a 1986 interview, Schuman illustrates the interconnected nature of all his endeavors: "composition has been the continuum of my life's work, but it's been by no matter of means my sole pursuit. I would never be happy just being a composer. I've always wanted and needed to do other things of a general societal nature."####Culture- Even through his compositional process, Schuman shows his independent thinking. Intending not to be bound by the limitations of both his piano skill and of the instrument itself, according to a biography written by Vincent Persichetti, Schuman "writes for the instruments of the orchestra directly... sings the parts at the top of his lungs... because his music is essentially melodic... He does, however, use the piano for new vocabulary departures; that is, for experimentation.”- One more quote by Schuman from 1977, helps summarize his philosophy on the balance of artistic honesty and the ambition needed for such a high profile career he had to that point:> I would like to be loved through my music, as anybody would be. But I recognized that this was not necessarily to be the case, and it would be much better to be despised and write what you want than to be loved and write what you didn't want.… I was asked that question just the other day [in February 1977] … “Why—when you write these difficult symphonies that hardly anybody ever plays, and you can write the New England Triptych or orchestrate Ives' Variations on America—why don't you write a holiday overture that would make you a lot of money and would be played a lot?”- Hopefully the continued reverence of Schuman's music will suffice as an answer to that question.- Schuman's symphonic output is quite varied, ranging from symphonies and concertos to ballet and opera. Schuman got the most mileage out of his symphonies, and he admittedly put most of his focus on their creation. Schuman's symphonies are most representative of all his compositional work, even by his own statements in an interview with Overtones: > “It never occurred to me not to write symphonies... I like every medium in music when I'm working on it… [but] I believe that as long as writers write long and complicated novels, composers are going to write in the symphonic forms, because they give an opportunity that nothing else gives.”- Schuman wrote 10 numbered symphonies, though he “withdrew” the first two.###Analysis of piece####Overall scope- Now to Symphony No. 10, the ‘American Muse' itself.- The recorded excerpts you will hear today are from a 2005 NAXOS recording of the Seattle Symphony conducted by Maestro Gerard Schwarz, a dear friend of this podcast.- Written and premiered in 1976, this symphony was commissioned for the American Bicentennial by the National Symphony Orchestra, and conducted by Antal Dorati. - The work is in 3 movements: Con Fuoco, Larghissimo, and the third movement goes through many different speeds, but does begin and end with a Presto.- The orchestration is outrageously large: 4 flutes, 3 oboes, English horn, Eb clarinet, 3 Bb clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, percussion that calls for 4 players, timpani, piano, harp, celesta, and strings. Whew! None of this would have been surprising coming from Schuman at that point, but even today that is quite a task to take on.####Excerpts- The opening fanfare sets a tone of muscularity, optimism as Schuman might put it...- And then gives way to a mostly brass chorale, punctuated by moments of woodwind interaction.- Not long after, we have a section of what we call homorhythm. This is when all or large portions of the orchestra are playing the same active rhythms, but not the same notes, in fact they are usually quite dissonantly contrasting notes. It is a powerful effect as Schuman builds a great deal of tension. In this excerpt there is a short unison of homorhythm followed by 2 independent layers.- After spending this entire movement in tonic disarray, giving a bit of tonal center, but then taking it away with swaths of dissonance, Schuman suddenly takes an about face at the end and we get, at first, blips of tonal, recognizable chords, before a final Eb major chord grabs hold and blares to the end as if we had been in that bright, happy key all along!- I LOVE that moment!- The second movement, Larghissimo, is a work of beauty, but you have to stick with it. Schuman lets his slow movements develop as organically as possible from the simplest of musical aspects. Here, he begins basically with a chord cluster, again moving only in homorhythmic motion, and very slowly at first. While the violas and then cellos take the lyrical line, which again does not change very much at all, but makes big glissando jumps when it does.- Then what follows is an iconic Schuman sound if there ever was one, I swear I could pick this writing out from any other composer on the planet. The violins slowly expand a high, and still higher reaching, melodic line over chromatically moving chordal movement in the violas and cellos, and just as the line starts to peak, he opens up the sound more, then again as another peak comes, he adds horns... and on and on, one layer after another. It is a long section, but here is a fairly representative moment. 『- And again, just like in the first movement, though this movement isn't quite so tonally wandering, he lets out all the tension, leaves off with a question mark... and gives us a big, fat, juicy Eb major chord!- The final movement, beginning Presto, starts a series of homorhythmic sections, first strings alone, then trading off with the woodwinds. The activity begins with much space, but quickly becomes lively, almost furious! 『- One element we had yet to come across was Schuman's craftiness with a fugue. Finally, in the last symphonic movement he ever wrote, in order to build up as much energy and tension as possible, Schuman writes a complex double fugue. This is not a tightly formed, rule-following Bach-like fugue you would expect, but most of the elements you would expect are there. It gives him the chance to push forward and pull back at will. One theme is very active, harmonically and rhythmically, while the other is long held out notes with little movement.- Now you must be wondering if and when we get that Eb major chord we've gotten at the end of every other movement. We do! And in similar fashion, Schuman prefaces it with heavy dissonance and confusion. This time, though, the final brilliant chord arrives and finishes in full fanfare. Instant standing ovation!###Closing- Beyond composition, Schuman taught at Sarah Lawrence College, served as president of the Juilliard School, facilitated it's move into the newly built Lincoln Center, founded the Juilliard String Quartet, served as president of Lincoln Center itself, and won 2 Pulitzer Prizes and the National Medal of Arts. Many people desire to change or effect the world in some way. William Schuman did that and more during his time. As long as we perform or hear his music, he still does.Music:Symphony No. 10By: William SchumanPerformed by: Gerard Schwarz; Seattle Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

J'ai eu le plaisir d'interviewer Béatrice Muthelet, elle évoque son itinéraire musical, son apprentissage en Israël notamment auprès de figures telles que Chaim Taub à l'époque violon solo de l'Orchestre Philharmonique d'Israël et premier violon du Quatuor de Tel-Aviv, puis son apprentissage de l'alto aux cotés de Pinchas Zukerman et ses rencontres d'immenses chefs comme Claudio Abbado ou Günter Wand et puis son rôle d'alto solo au sein du Mahler Chamber Orchestra. J'espère que ce plaisir que j'ai eu à interviewer Béatrice Muthelet sera partagé.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Le 10 octobre prochain dans le cadre du Festival de Laon, la violoniste Stéphanie-Marie Degand jouera notamment aux côtés de Marie-Josèphe Jude un concert de musique de chambre puis le 15 octobre prochain également aux côtés de jeunes musiciens déjà très reconnus. Elle vient de faire paraître pour le label NoMadMusic un merveilleux disque de Sonates pour clavecin et violon de Bach, elle est aux côtés de la claveciniste Violaine Cochard. -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Le pianiste Léon Fleischer vient de nous quitter, j'avais eu la chance de l'interviewer en 2011 par téléphone à l'occasion d'une série de concerts et de masterclass qu'il devait donner au Théâtre des Bouffes du Nord. Cette série avait été annulée étant souffrant. Je vous propose d'écouter cet entretien, trace émouvante et intéressante de cet immense musicien.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Créé en 2002, « Musique de chambre à Giverny » repose sur une idée portée par le violoncelliste Michel Strauss : offrir au public le fruit d'une rencontre particulière entre de grands musiciens renommés d'aujourd'hui et de jeunes talents déjà présents sur les scènes internationales. A l'occasion de ce festival donné du 17 au 30 août dernier dans les conditions si particulières que nous connaissons actuellement, j'ai pu rencontrer le pianiste Jean-Claude Vanden Eynden qui évoque sa carrière, ses rencontres telle que celle de Roudolf Barchaï, et son amour de la musique de chambre.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Le Quatuor Ebène vient de faire paraître pour le label Warner une intégrale des Quatuors de Beethoven réalisée à Philadelphie, Vienne, Tokyo, Sao Paulo, Melbourne, Nairobi et Paris. C'est Raphaël Merlin, violoncelliste du Quatuor Ebène, qui évoque ici le travail sur les Quatuors de Beethoven et d'une manière générale le travail du quatuor et l'apprentissage auprès des maîtres. -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

David Haroutunian est l'invité du premier épisode de la Saison 2 de l'émission "Ondes Sensibles". Il est au micro de Frédéric Hutman à propos de l'ensemble Toumanian Mek. Celui-ci vient de faire paraître pour le label NoMadMusic un disque consacré à des oeuvres de Komitas, Sayat-Nova, Ruben Altunyan, Gusan Sheram et Aram Khatchatourian. Il s'agit d'un disque pour quatuor à cordes avec des arrangements d'oeuvres de tous ces compositeurs arméniens, ce qui donne lieu à un entretien passionnant autour de ces musiques. Le quatuor est composé de David Haroutunian (premier violon), Clara Jaszczyszyn (second violon), Etienne Tavitian (alto) et Jennifer Hardy (violoncelle) -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Le violoniste Pablo Schatzman vient de participer à deux disques magnifiques. L'un est consacré exclusivement à Ernest Chausson « Le Littéraire » paru pour le label Klarthe, il est aux côtés de l'ensemble Musica Nigella et d'Eléonore Pancrazi, il y interprète notamment « La Chanson perpétuelle » d'Ernest Chausson, des extraits de « La Tempête » et le « Concert ». Il participe également à un magnifique album aux côtés de l'ensemble I Giardini et de Véronique Gens, album paru pour le label Alpha Classics, et consacré à des mélodies françaises.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Il vient de faire paraître un disque intitulé "Inveniendi" aux côtés de Yaoré Talibart et Clémence Mériaux au violon, Anna Sypniewski à l'alto et Aurélie Alexandre d'Albronn au violoncelle. Le disque est consacré à Brahms, Ricardo Nillni, Jean-Baptiste Doulcet et au quintette pour saxophone et quatuor à cordes d'Adolf Busch. Il évoque ce programme à notre micro.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Le guitariste Gabriel Bianco forme aux côtés des guitaristes Arkaïtz Chambonnet, Pierre Lelièvre et Benjamin Valette le Quatuor Eclisses, ils viennent de faire paraître pour le label Ad Vitam leur quatrième disque cette fois-ci consacré à de la musique espagnole, d'Albeniz à Mompou en passant par Manuel de Falla ou Torroba, Gabriel Bianco parle de la genèse de ce disque, du travail à quatre guitaristes et de l'actualité de cet ensemble.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

La violoniste Fanny Clamagirand vient de faire paraître pour le label Mirare consacré au Concerto pour violon et orchestre de Beethoven et au Concerto pour violon et orchestre à cordes de Pēteris Vasks. Elle parle de ces deux oeuvres à notre micro, ces oeuvres qu'elle interprète aux cotés de l'English Chamber Orchestra placé sous la direction de Ken-David Masur. -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Robert Mann was the founding member of The Juilliard String Quartet and musical giant in some of the world's greatest concert halls over the past 70+ years. Before his death at 97 in 2018, Mr. Mann completed his autobiography A PASSIONATE JOURNEY: A Memoir which offers lessons in leadership through his remarkable career as co-founder and first violin of The Juilliard String Quartet. Perhaps nobody knew Mr. Mann better than his son Nicholas who followed in his father's footsteps. Professor Nicholas Mann is co-chair of Manhattan School of Music’s string department and has been a Juilliard faculty member since 2002. He is a founding member of the Mendelssohn String Quartet and he performs widely as a soloist and chamber musician. In today’s interview with us, Nicholas shares some of his favorite memories of his father, the biggest challenge his father faced and how he grew through it, and powerful leadership and collaboration lessons you can apply in both your personal and professional life. Key Takeaways A string quartet is one of the most complicated and intense partnerships. You have to pick your battles. It’s easy to get upset over differences, but ask yourself, “Is it really worth fighting over?” One of the rules in a quartet is that you must listen to the ideas, and then try to make them work. It is surprising how often you can change your mind, if you are really open to a new idea. You can disagree in a quartet but you have to have respect for each other. That’s the basis for success. While you will need to comprise with your colleagues, there are certain things you don’t comprise. Certain core values that are the line you will not cross. You must know what they are and stay true to them. In terms of teaching and leading others, it’s great to have a talented student but mostly you want to have someone open to learning. Resources A Passionate Journey: Memoir Speak The Music Documentary Connect With Nicholas Mann Manhattan School Of Music: https://www.msmnyc.edu/faculty/nicholas-mann Mendelssohn Quartet: http://www.mendelssohnquartet.com

In today's episode, we talk to violinist Nicholas Mann, who is the Chair of the Manhattan School of Music String Department and a Juilliard Faculty member. We talk about the legacy of his late father, 4-time GRAMMY winner and Juilliard String Quartet Founder, Robert Mann and his recently released posthumous memoir, “A Passionate Journey”! Over a 50 year period, Robert Mann led the Juilliard String Quartet playing almost 6,000 performances all over the world, scooping up 4 GRAMMYs and sharing their distinctive sound with such notable figures such as Glenn Gould, Aaron Copland, Leonard Bernstein and even Albert Einstein. His incredible career is chronicled in “A Passionate Journey: A memoir” also written by Robert Mann and available for purchase. “A Passionate Journey” is a collection of both spoken and written words in the form of essays, letters, lectures, and interviews from various times in his life, offering an engrossing glimpse into a life filled with musical milestones and the mind of a musical giant. I am joined again by my good friend Christopher Dzengelewski and we chat to Nicholas about his father's incredible musical legacy!

This week on "State of Wonder," the comedian Maria Bamford on her hit Netflix series, author Daniel Handler on his best-selling "Series of Unfortunate Events" books, and the man who pretty much invented the photography book, Robert Frank.Hard Times For Artists Repertory TheatreThe year got off to a hard start for Portland’s oldest theater, Artists Repertory. Founded in 1982, the mid-sized company performs high-octane work by hot playwrights, tackling subjects like racism, the Great Recession, and climate change. As OPB’s April Baer reports, the company announced plans to sell half its building to retire its debt and set it on a sustainable path, as well as the departure of its managing director.Comedian Maria Bamford - 6:38Comedian Maria Bamford is cruising back through Oregon next week for shows at Eugene’s McDonald Hall Jan. 12 and at Portland's Revolution Hall Jan. 13. She’s been cranking out the work lately. Last year she released a Netflix special, "Old Baby," where she's performing in front of all different kinds of crowds: clubs, neighborhood streets, a bowling alley with a bunch of complete strangers. She also kicked out a new web series, "Ave Maria Bamford" — sort of a self-help for the holidays missal — and her series on Netflix, “Lady Dynamite,” has wrapped a second season. In it, she plays a fictionalized version of herself, and tells stories about rebooting her career after a serious mental health crises breakdown in 2010.Nick Delffs Live at opbmusic - 18:20Nick Delffs was a longtime part of the Portland music scene, fronting the shaggy indie rock band The Shaky Hands and collaborating with Luz Elena Mendoza and Ali Clarys in the group Tiburones, before moving to Boise, Idaho, several years ago. Delffs went back on the road to promote the release of his first solo album, “Redesign,” and, no surprise, it’s a collection of songs about reinventing yourself.A Conversation With Daniel Handler, aka Lemony Snicket - 22:40Beginning in 1999, a writer under the pen name Lemony Snicket began “A Series of Unfortunate Events,” a thirteen volume collection of blockbuster children’s books that have been turned into a movie and a Netflix series. They told the story of the Baudelaire children, who lost their parents in a fire and became the wards of their evil Count Olaf. The books struck a chord with kids because they didn’t moralize or try to make the world seem better than it was; instead, they confronted the fact that bad things happen, often for no reason at all.Lemony Snicket was later revealed to be the author Daniel Handler. He has since written many works under his own name, ranging from poetry to plays. Last fall, he released both the novel “All the Dirty Parts” and the children’s book “The Bad Mood and the Stick.” He spoke at Wordstock in November with "New York Times" TV critic Gilbert Cruz.Remembering Violinist Robert Mann - 32:36This week, a giant in the classical world — with Portland roots — passed away. Robert Mann, a founding member of the Juilliard String Quartet, died Monday at age 97. We take a moment to remember Mann, and the contributions he made to classical music, including the symphony where he got his start: the Portland Youth Philharmonic.Art Publisher Gerhard Steidl on Photographer Robert Frank - 35:11Robert Frank has been called the father of street photography because he was the first person to shoot everyday life with a raw, shoot-from-the-hip aesthetic, but "street photography" is an understatement. His photos of people around the world are really documentary works that tell complex stories, and his book "The Americans" (with an introduction by Jack Kerouac) basically invented the photography book as we understand it.Now the world’s preeminent publisher of photography books, Gerhard Steidl, is in town for an exhibition of Frank's work at Portland’s Blue Sky Gallery, titled “Robert Frank: Books and Films: 1947 to 2017.” Frank’s films are shown on a wall at the same size as the photos, all the photos are printed on newsprint, and, as Steidl tells us, they'll all be destroyed at the end of the run.Pepe Moscoso Passes the Torch at Fusionarte Radio - 45:28If you listen to the KBOO arts radio show Fusionarte, part of the Spanish language block, you know it’s a free-rolling conversation about everything that’s current. Host Pepe Moscoso talks to guests about books, theater, film, and music - lots and lots of good music. Now Moscoso is ending his run — a working artist, he’s going to spend more time on his photography and mixed media projects — and handing the show off to Luna Flores, a poet who also works with KBOO radio’s Youth Collective. We invited them in to talk about the show.

In this episode of the Clarineat Podcast I'm joined by the legendary Stanley Drucker, who is of course the former principal clarinetist of The New York Philharmonic Orchestra, a position he held for over 60 years. During his time with the orchestra, Stanley also maintained a busy schedule as a chamber musician and recitalist. He could, of course, be found performing at illustrious venues like Carnegie Hall, but you might be surprised to learn that he also performed quite often at venues such as churches and school auditoriums, places, of course, where you might not expect to find one of the world's greatest musicians. Today, our conversation focuses on this element of Stanley's work, and most notably the release of an exciting new set of CDs called the "Heritage Collection." This collection features live recordings at many different venues recorded over a 30 year span from the early 1970s to mid 2000s. Stanley is joined in performance on this set by world class chamber ensembles such as the Juilliard String Quartet and, of course, his wonderful wife Naomi Drucker who is an accomplished clarinetist in her own right. I'm thrilled to say that Naomi also joins me in conversation for part of today's interview.

In a program from 2010, Andrew Patner features music of modern and contemporary composers Bernd Alois Zimmermann, Richard Wernick, and David Rakowski from recent recordings by Augustin Hadelich, the Juilliard String Quartet, and Chicago pianist Amy Briggs [...]

Steven Epstein, an American producer of classical music received a B.Sc. in Music education from Hofstra University in 1973.Epstein has worked with artists such as Yo-Yo Ma, Wynton Marsalis, Plácido Domingo, Isaac Stern, Itzhak Perlman, Murray Perahia, Emanuel Ax, Bobby McFerrin, and groups such as Juilliard String Quartet, Tokyo String Quartet, Fine Arts Quartet, Punch Brothers. He has worked with the Vienna, Berlin and New York Philharmonic Orchestras, and with the Chicago, Cleveland, London, Concertgebouw, Philadelphia, Pittsburgh, and Los Angeles Symphony Orchestras. Epstein was the Senior Executive Producer of Sony Classical and now produces and engineers independently. He has won 17 Grammys, including 7 for Classical Producer of the Year and 1 for Classical Album of the Year.He is also adjunct professor of Classical Music Recording at McGill University in Montreal, Quebec, Canada.

Oct. 30, 2015. A pre-concert panel discussion featuring Jane Chu, Margaret Lioi and Astrid Schween. Speaker Biography: Jane Chu is Chairwoman of the National Endowment for the Arts. Speaker Biography: Margaret Lioi is CEO of Chamber Music America. Speaker Biography: Astrid Schween is cellist with the Juilliard String Quartet. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7195

Nov. 10, 2012. Pulitzer-winning composer Richard Wernick conducts a Master Class on the music of American composer Irving Fine to students from the Peabody Preparatory Performance Academy for Strings. This episode focuses on the middle movement of the Fantasia for string trio. Produced in conjunction with the Library of Congress Irving Fine Centennial Festival. Speaker Biography: Born 1934 in Boston, Massachusetts, Richard Wernick's many awards include the 1977 Pulitzer Prize in Music, and three Kennedy Center Friedheim Awards -- the only two-time First Prize recipient. He received the Alfred I. Dupont Award from the Delaware Symphony Orchestra in 2000, and has been honored by awards from the Ford Foundation, Guggenheim Foundation, National Institute of Arts and Letters, and the National Endowment for the Arts. In 2006, he received the Composer of the Year Award from the Classical Recording Foundation, resulting in the funding for an all-Wernick CD on the Bridge label, and featuring performances by David Starobin, William Purvis, the Juilliard String Quartet and the Colorado Quartet. Wernick became renowned as a teacher during his tenure at the University of Pennsylvania, where he taught from 1968 until his retirement in 1996, and was Magnin Professor of Humanities. He has composed numerous solo, chamber, and orchestral works, vocal, choral and band compositions, as well as a large body of music for theater, films, ballet and television. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6875

Nov. 10, 2012. Pulitzer-winning composer Richard Wernick conducts a Master Class on the music of American composer Irving Fine to students from the Peabody Preparatory Performance Academy for Strings. This episode focuses on the third movement of the Fantasia for string trio. Produced in conjunction with the Library of Congress Irving Fine Centennial Festival. Speaker Biography: Born 1934 in Boston, Richard Wernick's many awards include the 1977 Pulitzer Prize in Music, and three Kennedy Center Friedheim Awards -- the only two-time First Prize recipient. He received the Alfred I. Dupont Award from the Delaware Symphony Orchestra in 2000, and has been honored by awards from the Ford Foundation, Guggenheim Foundation, National Institute of Arts and Letters, and the National Endowment for the Arts. In 2006, he received the Composer of the Year Award from the Classical Recording Foundation, resulting in the funding for an all-Wernick CD on the Bridge label, and featuring performances by David Starobin, William Purvis, the Juilliard String Quartet and the Colorado Quartet. Wernick became renowned as a teacher during his tenure at the University of Pennsylvania, where he taught from 1968 until his retirement in 1996, and was Magnin Professor of Humanities. He has composed numerous solo, chamber, and orchestral works, vocal, choral and band compositions, as well as a large body of music for theater, films, ballet and television. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6874

Nov. 11, 2012. Students of the Peabody Preparatory Performance Academy for Strings perform American composer Irving Fine's Fantasia for string trio. This performance was the culmination of a master class led by Pulitzer-winning composer Richard Wernick. Produced in conjunction with the Library of Congress Irving Fine Centennial Festival. Speaker Biography: Born 1934 in Boston, Richard Wernick's many awards include the 1977 Pulitzer Prize in Music, and three Kennedy Center Friedheim Awards -- the only two-time First Prize recipient. He received the Alfred I. Dupont Award from the Delaware Symphony Orchestra in 2000, and has been honored by awards from the Ford Foundation, Guggenheim Foundation, National Institute of Arts and Letters and the National Endowment for the Arts. In 2006, he received the Composer of the Year Award from the Classical Recording Foundation, resulting in the funding for an all-Wernick CD on the Bridge label, and featuring performances by David Starobin, William Purvis, the Juilliard String Quartet and the Colorado Quartet. Wernick became renowned as a teacher during his tenure at the University of Pennsylvania, where he taught from 1968 until his retirement in 1996, and was Magnin Professor of Humanities. He has composed numerous solo, chamber, and orchestral works, vocal, choral and band compositions, as well as a large body of music for theater, films, ballet and television. For more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6873

Nov. 10, 2012. Pulitzer-winning composer Richard Wernick conducts a Master Class on the music of American composer Irving Fine to students from the Peabody Preparatory Performance Academy for Strings. Produced in conjunction with the Library of Congress Irving Fine Centennial Festival. Speaker Biography: Born 1934 in Boston, Massachusetts, Richard Wernick's many awards include the 1977 Pulitzer Prize in Music, and three Kennedy Center Friedheim Awards -- the only two-time First Prize recipient. He received the Alfred I. Dupont Award from the Delaware Symphony Orchestra in 2000, and has been honored by awards from the Ford Foundation, Guggenheim Foundation, National Institute of Arts and Letters, and the National Endowment for the Arts. In 2006, he received the Composer of the Year Award from the Classical Recording Foundation, resulting in the funding for an all-Wernick CD on the Bridge label, and featuring performances by David Starobin, William Purvis, the Juilliard String Quartet and the Colorado Quartet. Wernick became renowned as a teacher during his tenure at the University of Pennsylvania, where he taught from 1968 until his retirement in 1996, and was Magnin Professor of Humanities. He has composed numerous solo, chamber, and orchestral works, vocal, choral and band compositions, as well as a large body of music for theater, films, ballet and television. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6556

Nov. 10, 2012. Pulitzer-winning composer Richard Wernick introduces the music of American composer Irving Fine to students from the Peabody Preparatory Performance Academy for Strings. Produced in conjunction with the Library of Congress Irving Fine Centennial Festival. Speaker Biography: Born 1934 in Boston, Massachusetts, Richard Wernick's many awards include the 1977 Pulitzer Prize in Music, and three Kennedy Center Friedheim Awards -- the only two-time First Prize recipient. He received the Alfred I. Dupont Award from the Delaware Symphony Orchestra in 2000, and has been honored by awards from the Ford Foundation, Guggenheim Foundation, National Institute of Arts and Letters, and the National Endowment for the Arts. In 2006, he received the Composer of the Year Award from the Classical Recording Foundation, resulting in the funding for an all-Wernick CD on the Bridge label, and featuring performances by David Starobin, William Purvis, the Juilliard String Quartet and the Colorado Quartet. Wernick became renowned as a teacher during his tenure at the University of Pennsylvania, where he taught from 1968 until his retirement in 1996, and was Magnin Professor of Humanities. He has composed numerous solo, chamber, and orchestral works, vocal, choral and band compositions, as well as a large body of music for theater, films, ballet and television. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6430

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Grammy-award winner Joel Smirnoff has been a member of the Juilliard String Quartet since 1986, and the ensemble’s leader since 1997. He also pursues and active career as a conductor, both in the U.S. and abroad. Join a truly distinguished alumnus for and exploration of the sounds and content of the music which provided the ambience for university life at UChicago during the late 60’s. As a member of the Class of ‘71, the music at this time became, to an exent, a major motivating influence in his life and the lives of young people tyring to find a center and a life plan.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Grammy-award winner Joel Smirnoff has been a member of the Juilliard String Quartet since 1986, and the ensemble’s leader since 1997. He also pursues and active career as a conductor, both in the U.S. and abroad. Join a truly distinguished alumnus for and exploration of the sounds and content of the music which provided the ambience for university life at UChicago during the late 60’s. As a member of the Class of ‘71, the music at this time became, to an exent, a major motivating influence in his life and the lives of young people tyring to find a center and a life plan.

1 - Vinheta na voz de Glenn Gould (trecho de "A Glenn Gould Fantasy") 2 - "So you want to write a fugue?", de Glenn Gould. Com Elizabeth Benson-Guy, soprano. Anita Darian, mezzo-soprano. Charles Bressler, tenor. Donald Gramm, barítono. The Juilliard String Quartet. 3 - "O voo do besouro", de Rimsky-Korsakov. Com Wynton Marsalis, trompete. Eastman Wind Ensemble. 4 - Canto yanomami "Hutuyoma heã yarë" ("Balança roça") 5 - "Prelúdio", de Gilberto Mendes. Com Fábio Zanon, violão. 6 - Canto do curió Ana Dias 7 - "Suíte orquestral para os Jogos Panamericanos Rio 2007 sobre temas de Tom Jobim, Chico Buarque e Villa-Lobos" (trecho), de André Mehmari. Com Orquestra Sinfônica Brasileira. Roberto Minczuk, regente. 8 - "My heart belongs to daddy", de Cole Porter. Com Charlie Parker, saxofone. Walter Bishop, piano. Jerome Darr, guitarra. Teddy Kotick, baixo. Roy Haynes, bateria. Gravação ao vivo em 31 de março de 1954 em Nova York ========================= 1 - Glenn Gould´s voice (from "A Glenn Gould Fantasy") 2 - "So you want to write a fugue?" (Glenn Gould). Elizabeth Benson-Guy, soprano. Anita Darian, mezzo-soprano. Charles Bressler, tenor. Donald Gramm, baritone. The Juilliard String Quartet. 3 - "Flight of the Bumblebee" (Rimsky-Korsakov). Wynton Marsalis, trumpet. Eastman Wind Ensemble. 4 - Yanomami chant "Hutuyoma heã yarë" 5 - "Prelúdio" (Gilberto Mendes). Fábio Zanon, guitar. 6 - Brazilian Bird Curió Ana Dias 7 - "Orchestral suite to the Panamerican Games Rio 2007 - excerpt" (André Mehmari). Brazilian Symphony Orchestra. Roberto Minczuk, regente. 8 - "My heart belongs to daddy" (Cole Porter). Charlie Parker, saxofone. Walter Bishop, piano. Jerome Darr, guitar. Teddy Kotick, bass. Roy Haynes, drums. Recorded live on March 31st 1954, New York.